At some point, it becomes difficult to overestimate the significance of an object in space for us – its material embodiment, which programs situations. If you imagine that situations are being accounted for, you may want to start "taking care" of their quality.

Despite the stability that certainty gives, I strive to ensure that the work has no style. Or to make sure that this style doesn't identify much with the object, but rather denotes the vector instead. Even if the process of creating a shape was formed at the intersection of aesthetic concepts that were already previously defined by someone else. Perhaps then you will be able to make out the will of the object itself.

Extensive experience in complex processing of materials for the purpose of implementing artistic ideas leads to a bizarre (at first glance) conclusion: what you are creating has already existed. In wood or metal, outside your will. This is shown in the properties of all materials, which determine the processing methods. And even now, when it is touched by robots more and more often, we want them to make a mistake. Finished works also determine methods of interaction with them.

I define as successful a work that looks like an empty page. This gives birth to a context where the conditions of personal relations to the space within which the object resides appear to acquire more freedom.